This thesis examines the portrayal of multiple roles in a production of Camelot, written by Alan Jay Lerner and Frederick Loewe. Performance and content analysis identifies and explores the difficulties and challenges in portraying multiple roles in this production, including the understudying of the leading role of Guenevere. A detailed historical analysis provides background into origin of the Arthurian legend and an examination of its historical development. A social analysis provides information on the role of women in medieval society with a discussion of the customs and laws that applied to them. Furthermore, a structural analysis of the script examines the plot and play structure. In addition, in individual sections is formal scene-by-scene analysis of the role of Nimue, Lady Anne, and Guenevere. A comprehensive rehearsal and performance journal also addresses the rehearsal and script development process and challenges faced as well as discoveries, adjustments, and choices made in performance from April 14 to May 30, 2004 at the Orlando Broadway Dinner Theatre. Specific entries include discussion of the challenges of playing minor roles while understudying the role of Guenevere, eventually played in one performance. Belinda Boyd and Christopher Niess, my thesis committee, have each provided a performance analysis of my portrayal of Nimue and Lady Anne. J.J. Ruscella, another committee member, has provided a performance analysis of my performance as Guenevere.

Thesis (Ph.D.)--Duquesne University, 2007. / Title from document title page. Abstract included in electronic submission form. Includes bibliographical references (p. 287-293).

In Marion Zimmer Bradley's retelling of the Arthurian legends, The Mists of Avalon, she creates two dystopic cultures: Avalon and Camelot. Contrasting Bradley's account of the legends with the traditional version, Sir Thomas Malory's Le Morte d'Arthur, reveals that Bradley's sweeping revisions of the tradition do little to create a feminist ideal. A skeptical questioning of the text's plot and characters with the Women's Movement in mind opens an interpretation of the text as a critique of feminism itself.

This study critically analyzed four selected campaign speeches by Robert Kennedy from his 1968 campaign to determine his use of the Camelot myth and his success in portraying himself as the heir apparent to the Kennedy legend. Using procedures adapted from fantasy theme analysis, the rhetorical vision of Camelot was outlined, and the fantasy themes and fantasy types within it were determined. The public persona of Robert Kennedy was also evaluated. Throughout the speeches analyzed, Robert Kennedy invoked themes identified within the rhetorical vision of Camelot. In addition to his own themes of social justice and reconciliation, Kennedy promoted his brother's legend. Chaining evidence provided proof of the public's participation in the rhetorical vision demonstrating Kennedy's success with these themes.